What is the Tomatometer®?

The Tomatometer rating – based on the published opinions of hundreds of film and
television critics – is a trusted measurement of movie and TV programming quality
for millions of moviegoers. It represents the percentage of professional critic reviews
that are positive for a given film or television show.

From the Critics

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Fresh

The Tomatometer is 60% or higher.

Rotten

The Tomatometer is 59% or lower.

Certified Fresh

Movies and TV shows are Certified Fresh with a steady Tomatometer of 75% or
higher after a set amount of reviews (80 for wide-release movies, 40 for
limited-release movies, 20 for TV shows), including 5 reviews from Top Critics.

Mark Demetrius

Mark Demetrius's reviews only count toward the Tomatometer when
published at the following Tomatometer-approved publication(s):
FILMINK (Australia)

Biography:

Mark Demetrius has been a freelance writer for decades, specialising in film criticism and rock journalism. He was a longstanding columnist for Rolling Stone, and has contributed to numerous publications from Juice to FILMINK. Mark also wrote a book of blackly humourous limericks called Grimmericks, lived in London for years and is now back in Sydney.

Land Of Mine is... gripping, well-acted by all, and a good, strong tale well told. It's also that uncommon thing: a movie that touches on the theme of redemption without descending into bathos or inanity.&dash; FILMINK (Australia) - EDIT

Despite the odd moment of dewy-eyed banality, it's really well made and researched, proffers a swag of interesting facts (some mindboggling, some touching, some inspiring, and some ghastly) and is definitely worth seeing.&dash; FILMINK (Australia) - EDIT

Eye In The Sky is sporadically sentimental, unrealistic, and overburdened with intrusive soundtrack music. But it gets you in, and it's suspenseful, claustrophobic, and a fairly unusual take on the counter-terrorism sub-genre.&dash; FILMINK (Australia) - EDIT

Pride And Prejudice And Zombies stays watchable enough, because - for all its conceptual absurdity - it's mostly played straight rather than for laughs. It's not very good, but nor is it cringingly bad.&dash; FILMINK (Australia) - EDIT

Food is not an inherently cinematic subject, being fundamentally about the sense of taste rather than that of sight. But, in its own terms, this doco isn't too bad at all.&dash; FILMINK (Australia) - EDIT

Terminus is slow moving and often underlit - presumably in the interests of ambience, but the murkiness gets monotonous and the creepy soundtrack music does little to alleviate the torpor.&dash; FILMINK (Australia) - EDIT

It's mercifully "un-modernised" and pretty faithful to Charles M. Schulz' original comic strip, but it's also rather flat and not especially funny. And there's too much padding; it could just as well have been a short rather than feature-length.&dash; FILMINK (Australia) - EDIT

Whether you find this film revelatory, vindicating or provocative will rather depend on your preconceptions about Scientology -- or about religions in general. In any case, it's pretty gripping.&dash; FILMINK (Australia) - EDIT

There are constant twists and turns, eventually straining credulity, but there's also -- and typically for The Coens -- a salutary quorum of absurdist dialogue, black humour and wryly memorable exchanges.&dash; FILMINK (Australia) - EDIT

Latter day silent movies need not be cute or vacuous -- daring Canadian filmmaker Guy Maddin's avant-garde creations have proved that triumphantly -- but this one is a highly polished and clever bit of frippery.&dash; FILMINK (Australia) - EDIT

Midnight In Paris is clever, watchable, mildly entertaining and quite amusing. Unfortunately -- after its initial gimmick -- it's also pretty predictable, and amounts to a lot less than the sum of its parts. &dash; FILMINK (Australia) - EDIT